P  S 
3507 
E542 
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"DECEIVERS11 
W.C.  De  Mille 


bench's  International   Copyrighted    (in   England,    her 

Colonies,  and  the  United  States)  Edition  Of 

the  Works  of  the  Best  Authors 


No.  500 


DECEIVERS" 


H  HMa\>  in  ©ne  Bet 


BY 


WILLIAM  C  DE  MILLE 


COPYRIGHT,  1914,  BY  WILLIAM  C. -DE  MILLE 
COPYRIGHT,  1914,  BY  WILLIAM  C.  I>E  MILLE 


ALL  RIGHTS  RESERVED 


CAUTtON. — Professionals  and  Amateurs  are  hereby  warned  that 
"DECEIVERS,"  being  fully  protected  under  the  copyright  laws 
of  the  United  States  of  America  and  the  British  Empire,  is. 
subject  to  a  royalty,  and  anyone  presenting  the  play  without 
the  consent  of  the  author  or  his  authorized  agents  will  be 
liable  to  the  penalties  by  law  provided.  Applications  for  the 
professional  and  amateur  acting  rights  must  be  made  to  SAMUEL 
FRENCH,  25  West  45th  Street,  New  York,  N.  Y. 


PRICE,    30   CENTS 


NEW  YORK 
SAMUEL  FRENCH 

PUBLISHER 

25  WEST  45xn  STREET 


LONDON 

SAMyEL  FRENCH,  LTD. 
26  SOUTHAMPTON   STREET 

STRAND 


I 


MRS.  WIGGS  OF   THE 
CABBAGE   PATCH 

Dramatization  in  3  acts,  by  Anne  Crawford  Flexner  from 
the  novel  by  Alice  Hegan  Bice.  15  males,  11  females. 

1  interior,  1  exterior.    Costumes  modern  and  rustic.    Plays 
a  full  evening. 

A  capital  dramatization  of  the  ever-beloved  Mrs.  Wiggs  and 
her  friends,  people  who  have  entered  the  hearts  and  minds  of  a 
nation.  Mrs.  Schultz  and  Lovey  Mary,  the  pessimistic  Miss  Hazy 
and  the-  others  need  no  new  introduction.  Here  is  characteriza 
tion,  humor,  pathos,  and  what  is  best  and  most  appealing  in 
modern  American  life.  The  amateur  acting  rights  are  reserved 
for  the  present  in  all  cities  and  towns  where  there  are  stock 
companies.  Royalty  will  be  quoted  on  application  for  those  cities 
and  towns  where  it  may  be  presented  by  amateurs.  | 

Price,  75  Cents. 

THE   FOUR-FLUSHER 

Comedy  in  3  acts.    By  Caesar  Dunn.     8  males,  5  females. 

2  interiors.     Modern  costumes.     Plays  2J/4  hours. 

A  comedy  of  hustling  American  youth,  "The  Four-Flusher' r  is 
one  of  those  clean  and  bright  plays  which  reveal  the  most  appeal 
ing  characteristics  of  our  native  types.  Here  is  an  amusing  story 
of  a  young  shoe  clerk  who  through  cleverness,  personality,  and 
plenty  of  wholesome  faith  in  himself,  becomes  a  millionaire.  The 
play  is  best  described  as  "breezy."  It  is  full  of  human  touches, 
and  develops  a  most  interesting  story.  It  may  be  whole-heartedly 
recommended  to  high  schools.  (Royalty,  twenty-five  dollars.) 

Price,  75  Cents. 

PALS   FIRST 

Comedy  in  a  prologue  and  3  acts.  By  Lee  Wilson  Dodd. 
8  males,  3  females.  1  interior,  1  exterior.  Modern  cos 
tumes.  Plays  21/2  hours. 

Based  on  the  successful  novel  of  the  same  name  by  F.  P. 
TSlliott,  ''Pals  First"  is  a  decidedly  picturesque  mystery  play. 
Danny  and  the  Dominie,  a  pair  of  tramps,  enter  a  mansion  and 
persuade  the  servants  and  friends  that  they  belong  there.  They 
are  not  altogether  wrong,  though  it  requires  the  intervention  of 
a  judge,  two  detectives,  a  villain  and  an  attractive  girl  to  un 
tangle  the  complications.  A  most  ingenious  play,  well  adapted 
to  performance  by  high  schools  and  colleges.  (Royalty,  twenty- 
five  dollars.)  Price,  75  Cents. 

SAMUEL  FRENCH,  25  West  45th  Street,  New  York  City 
Our  New  Descriptive  Catalogue  Sent  Free  on  Request 


"DECEIVERS" 


fMag  in  ©ne  Bet 


BY 

WILLIAM  C.  DE  MILLE 


COPYRIGHT,  1914,  BY  WILLIAM  C.  DE  MILLE 
COPYRIGHT,  1914,  BY  WILLIAM  C.  DE  MILLE 


ALL  RIGHTS  RESERVED 


CAUTION. — Professionals  and  Amateurs  are  hereby  warned  that 
"DECEIVERS,"  being  fully  protected  under  the  copyright  laws 
of  the  United  States  of  America  and  the  British  Empire,  is 
subject  to  a  royalty,  and  anyone  presenting  the  play  without 
the  consent  of  the  author  or  his  authorized  agents  will  be 
liable  to  the  penalties  by  law  provided.  Applications  for  the 
professional  and  amateur  acting  rights  must  be  made  to  SAMUEL 
FRENCH,  25  West  45th  Street,  New  York,  N.  Y. 


NEW  YORK 
SAMUEL  FRENCH 

PUBLISHER 

25  W?EST  45TH  STREET 


LONDON 

SAMUEL  FRENCH,  LTD., 

26  SOUTHAMPTON  STREET 

STRAND 


EIBRARY 

SfTY  O 
~ 


4  DECEIVERS. 

AMOS.  All  right,  dear,  Fll  answer  it — finish  your 
desert — (He  picks  up  the  'phone  and  half  sits  on  the 
table]  Hello —  Yes,  this  is  Amos  Little —  Oh, 
that  you  Harry —  Hold  the  wire — just  a  minute — 
(He  puts  down  the  'phone,  goes  over  to  R.  door  which 
he  closes  carefully — then  comes  back  and  picks  up 
the  'phone  agai^)  Hello  Harry — what  to-night? 
Oh,  pshaw — I  promised  to  take  my  wife  to  the 
theatre —  Five  handed?  Oh,  I'll  make  six —  Yes, 
but  Flora —  What? — I  think  she's  getting  wise  to 
this  night  work  at  the  office —  Oh,  well  I'll  take  a 
chance — I  promised  her  to  give  up  Poker —  All 
right — sure  you  can  count  on  me — what  is  it — all 
Jacks?  sure  thafs  the  best  game —  All  right  I'll  be 
there  in  half  an  hour —  Good-bye.  (As  he  hangs 
up  the  receiver  the  door  R.  opens  and  FLORA  enters  in 
evening  dress] 

FLORA.  Hurry  up  dear —  You've  just  got  time 
to  change  your  clothes — (Crossing  L.  to  go  to  bed- 
room)  What  was  the  'phone? 

AMOS.    The  office 

(FLORA  stops  dead  and  eyes  him.) 

FLORA.  (Sarcastically)  Oh — you've  got  to  work 
to-night  I  suppose. 

AMOS.  Yes —  It's  hard  luck — I'd  been  counting 
on  taking  you  to  the  theatre. 

FLORA.     (Dryly)     H'm— so  had  I. 

AMOS.  But  business  before  pleasure — (She  eyes 
him  intently — he  gets  uncomfortable)  What  are 
you  looking  at  me  like  that  for? 

FLORA.  This  is  the  second  time  this  week  you've 
broken  a  theatre  engagement  with  me. 

AMOS.  Do  you  think  I  enjoy  slaving  away  at  the 
office? 

FLORA.  Last  Saturday,  you  were  at  "the  office" 
till  four  o'clock  Sunday  morning.  Tuesday  night 


DECEIVERS.  V 

you  came  home  from  "  the  office  "  at  three  fifteen — 
This  is  Thursday 

AMOS.  (Trying  to  bluff)  Look  here,  Flora,  I 
don't  like  your  tone. 

FLORA.     This  is  not  the  busy  season 

AMOS.    But  I've  told  you — this  war 

FLORA.  (Advancing  a  step)  Amos,  where  are  you 
spending  your  nights? 

AMOS.  (Sinking  into  chair  L.  of  table)  Oh, 
Lord!  This  is  the  thanks  I  get  for  working  my 
hands  to  the  bone  for 

FLORA.  How  is  it  I  can't  get  you  on  the  'phone 
when  you're  at  "  the  office  ?  " 

AMOS.    The  girl's  not  at  the  switchboard  and 

FLORA.     (Alert)     Where  is  she  then? 

AMOS.    At  home  and  in  bed 

FLORA.    How  do  you  know? 

AMOS.    I  don't  know — I 

FLORA.     Then  why — ? 

AMOS.  Now  for  heaven's  sake  don't  start  that 
again —  The  idea — being  jealous  of  a  poor  little 
'phone  girl 

FLORA.     (Tossing  her  head)     H'm 

AMOS.  Would  it  make  you  feel  any  better  to  come 
with  me?  Would  you  like  to  sit  in  an  empty  office 
while  I  work  on  the  books?  If  so  come  along. 
(Rising) 

FLORA.    Of  course  you'd  stay  while  I  was  with  you. 

AMOS.  Flora,  I'm  disappointed  in  you —  You 
don't  trust  me  any  more —  You're  jealous. 

FLORA.  Why  shouldn't  I  be?  You're  jealous 
enough  of  me — there's  very  little  /  can  do  that  you 
don't  want  to  know  about. 

AMOS.     (With  dignity)     That's  very  different. 

FLORA.  Well,  it's  going  to  be  different  from -now 
on.  I'm  tired  of  being  left  alone  night  after  night — 

AMOS.  (Losing  his  temper)  Well — what  are  you 
going  to  do  about  it? 


6  DECEIVEES. 

FLORA.    You'll  see 

AMOS.    Is  that  a  threat  ? 

FLORA.     (Facing  him)     Yes. 

AMOS.  (With  great  dignity)  Oh,  very  well.  I 
shall  change  my  coat  and  go  to  the  office — perhaps 
when  I  return,  you'll  be  yourself.  (He  goes  out  L. 
FLORA  sits  in  chair  L.  of  table —  The  'phone  rings — • 
FLORA  answers  it) 

FLORA.  Yes — •  This  is  Mrs.  Little — who — ?  the 
Detec — wait  a  minute —  Hold  the  wire — (Goes  to 
door  L.  cautiously,  closes  it,  then  returns  to  the  f phone 
— speaking  in  lowered  voice)  Hello,  now — tell  me — 
what  have  you  found  out?  Sh — don't  speak  so  loud 
• — I  don't  want  my  husband  to  know  I've  put  a 
detective  on  him —  No — he'd  never  forgive  me — but 
I  must  know —  What!  You  can't  report  over  the 
'phone?  I  see —  But  I  don't  know  you — I've  only 
seen  your  chief —  Oh,  yes — (AMOS  opens  door  L. — 
the  door  closes — he  enters  quietly — hears  the  follow 
ing  words  and  stops — then  goes  up  to  end  of  piano 
where  he  is  invisible  to  her,  but  in  full  view  of  the 
audience — FLORA  doesn't  see  him — her  back  is  to 
ward  the  L. —  She  continues)  Well  you'd  better 
come  here  to-night —  Yes — but  be  sure  my  husband 
doesn't  see  you — :  Yes,  he'll  be  out — and  I'll  be 
alone —  Yes  it's  better  for  you  to  come  at  night 
than  in  the  daytime —  The  neighbors  talk  so — and 
a  strange  man  coming  here  would  make  gossip,  so 
I'd  better  always  meet  you  at  night — (AMOS'  face 
has  changed  from  interest  to  amazement — from 
amazement  to  fury)  Oh,  we'll  have  plenty  of  time — 
My  husband  never  comes  back  before  two  or  three 
o'clock —  Now  listen — when  he  leaves  the  house,  I'll 
put  out  the  lamp  in  the  back  window —  Be  sure 
you  don't  come  until  you  see  the  lamp  go  out — 
All  right — I'll  expect  you —  Good-bye 

(AMOS,   during   the  last  few  words,  has  gone   out 


DECEIVERS.  7 

quietly,  a  picture  of  intense  rage — FLORA  Jiangs 
up  the  receiver  and  AMOS  is  heard  singing  in  a 
very  forced  way —  He  re-enters  L.  making  con 
siderable  noise.) 

AMOS.  (Restraining  his  wrath — and  speaking  with 
repression)  Well,  I'm  off —  What  was  the  'phone? 

FLORA.    Oh,  nothing — a  mistake. 

AMOS.  Flora,  what  did  you  mean  when  you  said 
that  you  were  tired  of  being  left  alone  night  after 
night? 

FLORA.    Never  mind  what  I  meant. 

AMOS.    But  I  do  mind 

FLORA.  All  right — mind  then —  Good  night. 
(She  exits  L.) 

(AMOS  goes  over  to  door  R. — goes  out — a  door  slams 
outside —  He  re-enters  at  once — cautiously  goes 
up  and  conceals  himself  behind  the  piano —  He 
can  appear  at  either  end  of  the  piano  and  be 
seen  ~by  the  audience.  FLORA  enters  cautiously, 
looks  down  hall  R. — then  puts  out  light  up  c. — • 
stage  lights  do  not  go  down —  She  exits  L. — 
AMOS  comes  from  behind  upper  end  of  piano — 
goes  back  to  window  and  tries  to  see  out — sees 
something  and  conceals  himself  again — PHIL, 
the  Mink,  appears  outside  windows.  He  uses 
a  Jimmy  to  open  the  window  softly  and  enters — • 
goes  to  door  L. — listens — then  to  door  R. — then 
he  examines  drawers  of  desk  L.  He  is  a  young , 
well  set  up  chap,  and  doesn't  look  like  a  burglar — 
He  is  dressed  in  good  business  clothes —  He 
makes  himself  at  home — takes  a  cigarette  from 
box  on  table  and  lights  it — AMOS  watching  him 
from  behind  piano — FLORA  enters —  He  hears 
her  and  turns —  His  hand  goes  to  his  pocket—* 
He  speaks  quickly.) 


8  DECEIVERS. 

PHIL.    Don't  make  a  noise 

FLORA.  (Advancing)  Oh,  if  s  all  right,  my  hus 
band  has  gone 

PHIL.     (Surprised)     Oh — has  he  indeed? 

FLORA.    I  hope  he  didn't  see  you  come  in. 

PHIL.    I  hope  he  didn't. 

FLORA.  Of  course,  I  expected  you — but  my  maid 
didn't  tell  me  you  had  come —  Did  you  'phone  from 
the  drug  store? 

PHIL.  Er —  Yes — (PHIL  follows  every  move 
slie  makes  with  his  eyes) 

FLORA.     (Coming  down  and  facing  him)     Well — 

PHIL.    Well • 

FLORA.  We'd  better  not  delay —  You  must  be 
gone  when  my  husband  returns. 

PHIL.     That  suits  me  perfectly. 

FLORA.    Won't  you  sit  down? 

PHIL.  Thank  you — (He  waits  for  \er  to  sit — 
She  sits  E,  of  table — lie  L.) 

FLORA.  I'm  afraid  I'm  rather  embarrassed — 
You  see  I've  never  done  anything  like  this  before. 

PHIL.  (Taking  the  cue)  Of  course  not — but  now 
that  you  have  begun 

FLORA.  Oh,  I  shall  see  it  through —  My  hus 
band's  conduct  has  made  this  necessary. 

PHIL.     Oh — yes — yes  absolutely. 

FLORA.  I  feel  sure  that  he  is  deceiving  me — 
otherwise  I  would  never  have  asked  you  to — you 
understand. 

PHIL.  I  don't  blame  you  a  bit —  Excuse  me — 
May  I  see  your  hand  a  moment — (Rises  and  stands 
in  front  of  table,  leaning  against  it) 

FLORA.    My  hand?    Why  what 

PHIL.  Just  a  moment — I'll  show  you — (He  takes 
her  hand  and  loolcs  at  it  intently)  Ah,  these  are 
very  beautiful  rings 

FLORA.     (Starting  to  draw  away  her  hand)     Yes 


DECEIVERS.  9 

PHIL.  (Holding  the  hand)  Oh,  it's  a  beautiful 
hand  too 

FLORA.    Really  I 

PHIL.  You  know — I  can  see  by  your  hand  that  I 
am  going  to  acquire  sudden  wealth — (Starting  to 
take  off  her  rings)  Allow  me 

FLORA.  (Pulling  her  hand  but  not  releasing  it) 
Look  here — what  do  you  mean  ?  Let  go  my  hand 

PHIL.  A  mere  trifle  I  know — but  they  will  re 
mind  me  of  you — please  don't  struggle. 

FLORA.  Oh,  oh,  I  see —  You're  not  the  man  I 
thought  you  were — you're  a 

PHIL.  Don't  scream — (He  puts  his  hand  over  her 
mouth,  holding  her  other  hand — the  struggle  looks 
like  an  embrace — at  this  moment  AMOS  confronts 
them  a  pistol  in  his  hand) 

AMOS.  (Covering  them  with  his  pistol)  So— 
This  is  what  you  meant 

(PuiL  turns — sees  he  is  covered  and  puts  up  his 
hands — FLORA  rushes  to  AMOS.) 

FLORA.    Oh,  Amos — Amos — protect  me. 

AMOS.  (Casting  her  off)  Protect  you —  Ha! 
This  is  a  nice  time  to  ask  protection  from  me — (To 
PHIL,  who  starts  to  lower  his  hands)  Keep  your 
hands  up. 

FLORA.    I'll  'phone  for  the  police. 

AMOS.    Why? 

FLORA.    To  turn  him  over — he's  a  burglar • 

AMOS.  Ha —  The  old  story — I  wonder  how 
many  trusting  husbands  have  been  fooled  by  it 

FLORA.    But  I  tell  you 

AMOS.  Oh,  you  act  it  well — if  I  didn't  know  better 
Pd  believe  you  even  now — •  But  I  heard  you  making 
the  appointment  with  him  over  the  'phone — I  heard 
you  tell  him  to  wait  till  your  husband  was  out — I 
saw  you  meet  him — heard  yoii  tell  him  he  had  to  be 


10  DECEIVERS. 

gone  when  your  husband  returned  and  finally  found 
you  in  his  arms —  Is  that  the  way  one,  receives  a 
burglar  ? 

FLORA.     But — but — I (She  is  speechless) 

AMOS.  If  you  didn't  expect  this  man — whom  did 
you  expect? 

FLORA.  No  one — that  is —  Oh,  I  won't  be  ques 
tioned  like  this — it's  absurd — (Starts  to  leave) 

AMOS.  Stay  here — (She  stops —  To  PHIL) 
Now — what  have  you  got  to  say  for  yourself  ? 

PHIL.  Not  a  word — I'm  in  the  hands  of  Provi 
dence. 

AMOS.    I  suppose  you  don't  claim  to  be  a  burglar  ? 

PHIL.  (Airily)  No,  no,  I  make  no  claims  what 
ever —  There's  evidently  been,  a  mistake  made,  so 
I'd  better—  (Starts  to  go) 

AMOS.  Stop—  (He  keeps  PHIL  covered  with  the 
pistol) 

PHIL.  Just  as  you  like —  Do  you  mind  if  I  put 
my  hands  down  ? 

AMOS.  No — but  don't  make  any  quick  move 
ments. 

(PHIL  puts  his  hands  down.) 

FLORA.    Amos,  can't  you  trust  me? 

AMOS.    Bo  you  think  I'm  a  fool  ? 

PHIL.  You  don't  have  to  answer  that  if  you  don't 
want  to 

AMOS.  (To  PHIL)  Now,  I  am  going  to  have  the 
truth  from  you.  How  long  have  you  been  her  lover  ? 

PHIL.  Now  look  here,  old  man,  that's  not  a  fair 
question. 

FLORA.  Amos  I — (To  PHIL)  Why  don't  you 
explain —  Tell  him  you're  a  burglar 

AMOS.    Do  you  think  I'd  believe  him — now? 

PHIL.     (To  FLORA)     You  see  he  wouldn't  be- 


DECEIVERS.  11 

lieve  me —  Of  course,  I'd  like  to  do  anything  I 
coul  d — but 

AMOS.    I  suppose  I  ought  to  kill  you  in  your  tracks. 

PHIL.  (Conciliatingly)  Well,  I  don't  know- 
about  that —  In  my  opinion,  you'd  be  making  a 
great  mistake. 

AMOS.     (Dryly)     Oh,  you  think  so,  eh? 

PHIL.  Yes,  yes,  I'm  sure  of  it —  What  good 
would  it  do? 

AMOS.  (Between  his  teeth)  Wipe  out  the  dis 
honor  of  my  home. 

FLOKA.  Amos,  you're  making  a  complete  fool  of 
yourself. 

PHIL.  (Soothingly)  Well,  he's  excited  just  now — - 
He'll  be  all  right  in  a  few  minutes. 

AMOS.  You  can't  get  away  with  this  and  you  can't 
bluff  me — I  must  know  how  long  this  has  been  going 
on —  If  you'll  confess — I  may  let  you  go  alive — • 
after  all,  if  I  killed  you,  it  would  only  make  scandal. 

PHIL.  Absolutely —  It  would  be  the  worst  thing 
in  the  world  for  all  of  us. 

FLORA.  (To  PHIL)  Look  here,  Sir,  I  don't  know 
your  name,  but  you  seem  like  a  gentleman,  tho  you 
are  a  burglar. 

AMOS.  Yes — I've  noticed  that  too,  a  little  strange 
isn't  it? 

PHIL.    Oh,  not  in  these  days. 

FLORA.  (To  PHIL)  Then  I  appeal  to  you  as  a 
gentleman —  Don't  vou  see  the  position  you  put  me 
in  by  your  silence  ? 

PHIL.    Yes,  it  is  extremely  awkward. 

AMOS.    Yes,  extremely  awkward. 

FLORA.  Then  why  won't  you  confess  that  you're 
a  burglar,  I'll  see  that  no  harm  comes  to  you. 

AMOS.  Oh,  no  you  won't — (To  PHIL)  If  you 
stick  to  this  burglar  story  of  hers,  you  go  to  jail — • 
understand  ? 


13  DECEIVERS. 

PHIL.  (To  FLORA — shrugging  his  shoulders) 
You  see? 

AMOS.  Come — come —  Choose —  Tell  me  all 
that's  passed  between  you  and  her,  or  I  turn  you 
over  to  the  police. 

PHIL.  And  if  I  tell  you  what  you  want  me  to — 
I'll  get  my  head  blown  off — is  that  it? 

AMOS.  No — I'll  give  you  your  life — but  I  must 
know  the  truth. 

FLORA.  Oh,  you  idiot —  How  can  he  confess  what 
isn't  so?, 

AMOS.  (To  FLORA)  He  doesn't  need  any  prompt 
ing  from  you.  (To  PHIL)  Will  you  confess,  or 
shall  I — (Reaches  for  'phone) 

PHIL.  (To  FLORA)  I'm  afraid  it's  no  use — I 
should  like  to  protect  your  good  name — but  after  all, 
he  saw  us  didn't  he  ?  So  we  may  as  well  own  up 

FLORA.  We — well  of  all  the —  Why  I  never  saw 
you  before 

AMOS.  (To  FLORA)  You  keep  still — I'm  getting 
the  truth  at  last. 

FLORA.    But  I —    Oh — (Sits  in  utter  desperation) 

AMOS.     (To  PHIL)     Go  on. 

PHIL.  There's  nothing  more  to  be  said — I  admit 
we  love  each  other 

FLORA.  Oh —  You —  You  wretch —  You 
miserable  liar 

PHIL.  Of  course,  she  doesn't  seem  to  love  me 
much  at  this  moment — but — well — you  know  how 
women  change 

AMOS.  (Letting  his  head  sink)  Yes — I  know — I 
— I  loved  her  myself — once. 

PHIL.  (Very  sympathetically)  It's  cruel,  isn'y 
it?  I  make  no  excuses — only — don't  be  too  hard  or 
her —  You  know  men  and  women  can't  always  con 
trol  their  hearts 

AMOS.     (His  rage  changed  into  grief)     I  know — 

FLORA.  Oh!  You — you  cowardly  thief.  (To 
AMOS)  This  has  gone  quite  far  enough —  If  you 


DECEIVEES.  13 

want  to  believe  this  man's  lies — do  so — but  I'm  going 
to  call  the  police — (Reaches  for  'phone) 

PHIL.  Stop  her,  man—  (Anos  does  so)  If  she 
tells  the  police  this  absurd  story  about  my  being  a 
burglar — I  shall  have  to  let  the  whole  world  know 
the  truth. 

AMOS.  Yes — you're  right — (Taking  the  'phone 
-from  FLORA)  Put  that  down —  This  is  terrible 
enough  without  making  it  public. 

FLORA.  But,  Amos,  his  pretending  to  be  my  lover 
proves  that  he  is  a  burglar — can't  you  see  ? 

AMOS.    No,  I  can't. 

PHIL.  Gently,  brother;  the  lady's  point  is  well 
taken —  You  see  if  I  really  were  her  lover,  I  would 
admit  being  a  burglar  and  go  to  jail  to  save  her.  On 
the  other  hand,  if  I  really  were  a  burglar,  I  would 
admit  being  her  lover  and  save  myself —  It's  very 
perplexing;  I  don't  blame  you  a  bit  for  being  puzzled. 

FLORA.  There,  Ainos,  he  admits  that  he  is  a 
burglar. 

PHIL.  Oh,  no,  I  don't.  You  were  entirely  too 
eager  to  give  me  to  the  police —  The  minute  we 
Were  caught  your  one  thought  was  to  save  yourself. 
You  would  have  had  me  languish  in  a  dungeon  cell, 
while  you  went  free.  In  that  moment,  you  killed  in 
me  every  spark  of  love —  You  wouldn't  lift  your 
hand  to  save  me,  so  why  should  I  save  you? 

FLORA.  Oh,  I  give  it  up — believe  what  you  please 
Amos,  I  won't  deny  anything — (Sits  again) 

AMOS.    £To  PHIL)     Go  on — tell  me  the  rest. 

PHIL.  Say,  look  here,  old  man,  why  make  me  tell 
all  the  painful  details?  I've  told  you  what  you 
wanted — now  let  me  go  and  I'll  try  to  forget  her. 
(Starts  to  go) 

AMOS.  (With  pistol)  Stop!  ( PHIL  stops)  The 
story  doesn't  end  here —  If  I  spare  your  wretched 
life,  you've  got  to  do  the  square  thing  by  her — 
After  the — the  divorce,  you  must  marry  her. 

FLORA.    What! 


14  DECEIVERS. 

PHIL.    I  shall  be  delighted. 

AMOS.    I  have  your  word? 

PHIL.     If  she  wishes  it —    Yes. 

AMOS.  (Pointing  to  door  R.)  Then  go — 
(Pockets  his  pistol) 

PHIL.  Thank  you — (Starts  to  go — FLOKA  gets  be 
tween  him  and  the  door) 

FLORA.  Stop —  You — you  can't  leave  me  in  this 
false  position.  If  you  go  like  this,  he'll  always  be 
lieve — what  he  does  now — (To  AMOS)  I  can't  stand 
this,  Amos,  the  man  you  heard  me  'phoning  to  was  a 
detective — I've  had  you  shadowed — to  find  out  the 
truth.  The  detective  was  to  come  here  to-night — 
vrhen  I  found  this  man  in  the  room  I  thought  it  was 
the  detective.  There — now  you  know  the  truth- — 
(To  PHIL)  Oh,  please,  please,  have  the  decency  to 
save  my  reputation 

PHIL.  (Covering  AMOS  with  a  pistol  which  he 
takes  from  his  pocket)  Certainly,  I  never  could 
resist  beauty  in  distress —  Keep  quiet  brother  and 
don't  make  any  sudden  motions —  The  lady  is  per 
fectly  right — I  am  a  burglar. 

AMOS.  (Turning  to  FLORA)  And  you  put  a 
detective  on  me,  eh  ?  You  treated  your  own  husband 
as  if  he  were  a  criminal. 

FLORA.  (Going  to  him)  Forgive  me,  Amos,  I 
was  mad  with  jealousy — I  didn't  believe  you  spent 
the  nights  working  at  the  office. 

AMOS.  And  you  are  the  woman  who  swore  to  love 
and  honor  me —  You  suspect  me  of  lying  to  you — 
of  deceiving  you — when  I  am  sitting  night  after  night 
over  my  desk,  working  to  give  you  comforts — work 
ing  until  my  eyes  close  with  fatigue  and  I  sleep  in 
my  chair — working  until — ('Phone  rings) 

PHIL.  Don't  move  please — (Keeping  them  covered 
with  the  pistol  he  ansivers  the  'phone  from  chair  R. 
of  table)  Oh—  Hello—  Yes  this  is  Mr.  Little's 
house.  Mr.  Little  can't  come  just  now — I'll  take  the 
message —  Oh,  it's  all  right — I'm  an  intimate  friend 


DECEIVERS.  ,        15 

—I  see—  Yes—  Yes,  all  right  I'll  tell  him— 
Good-bye.  (Hangs  up  and  turns  to  AMOS)  Mr. 
Jack  Evans  says  you  are  to  hurry  up  and  that  Billy 
just  held  four  .aces. 

FLORA.  (Recoiling  from  AMOS)  Jack  Evans! 
Four  aces — •  So  that's  the  way  you  work  your  fingers 
to  the  bone  to  give  me  comforts. 

AMOS.    But  my  dear 

FLORA.     Bah —     Don't  speak  to  me — (Starts  to 

9°) 

PHIL.  One  moment — (Keeping  them  both  covered 
with  the  pistol)  Kindly  stand  perfectly  still — both 
of  you — I'm  glad  I  came  to-night —  You  two  people 
really  love  each  other,  but  you  are  both  absurdly 
jealous  and  each  of  you  has  been  deceiving  the 
other — (Going  to  FLORA)  Your  rings,  please. 

FLORA.    But 

PHIL.  Please.  (Under  compulsion  from  the 
pistol,  she  gives  them  to  him)  My  dear  children, 
love  never  thrives  on  deceit.  Trust  each  other  and 
you  w^ll  be  happy.  Now  the  necklace — (He  gets  it 
and  turns  to  AMOS)  You  see,  honesty  is  the  best 
policy — (While  talking  he  goes  through  AMOS'S- 
pockets,  taking  pistol,  watch,  pin,  pocketbook,  foun 
tain  pen,  knife,  iQOse  change,  etc.)  You  must  have 
faith  in  each  other.  Let  him  play  a  game  of  poker 
occasionally.  If  he  had  played  to-night  he'd  have 
lost  less  than  he's  losing  now.  (To  AMOS)  But 
don't  tell  her  you're  working  at  the  office —  That's 
not  honest — it's  not  fair  to  her — and  Oh! — it's  so 
old !  That's  all  you've  got  to  remember —  Honesty 
— it's  the  thing  that  makes  life  worth  living —  An 
honest  man  fears  nothing — he  can  look  the  world  in 
the  eyes — I'm  going  to  leave  you  now — (He  takes 
the  ' 'phone  and  jerks  it  loose,  leaving  it  on  the  table. 
A  ring  is  heard  at  the  door  bell  R.)  There's  your 
detective —  If  you  will  both  wait  in  here,  I'll  let 
him  in —  But  I'm  sure  you  won't  need  him  now. 


16        ,  DECEIVERS. 

In  here  please — (He  puts  them  out  L.)  I'll  send  him 
right  in  here —  He  can  let  you  out — and  remember 
— Honesty — (He  doses  and  locks  the  door  L.,  leaves 
Icey  on  table.  Ring  repeated  at  bell  E.  He  takes 
another  cigarettte  from  table,  lights  it — AMOS  bangs 
on  door  L.  PHIL  calls  to  him)  Tell  the  detective  the 
key  is  on  the  table —  Good-night 

(Banging  continues  L.     Ringing  repeated  R.    PHIL 
exits  jauntily  K.) 

CURTAIN. 


NOTHING   BUT   THE   TRUTH 

Comedy  in  3  acts.  By  James  Montgomery.  5  males, 
6  females.  Modern  costumes.  2  interiors.  Plays  2%  hours. 

Is  it  possible  to  tell  the  absolute  truth — even  for  twenty-four 
bours?  It  is — at  least  Bob  Bennett,  the  hero  of  "Nothing  but 
the  Truth,"  accomplished  the  feat.  The  bet  he  made  with  his 
partners,  his  friends,  and  his  fiancee — these  are  the  incidents  in 
William  Collier's  tremendous  comedy  hit.  "Nothing  but  t'le 
Truth"  can  be  whole-heartedly  recommended  as  one  of  the  most 
sprightly,  amusing  and  popular  comedies  of  which  this  country 
can  boast.  (Royalty,  twenty-five  dollars.)  Price,  75  Cents, 

SEVENTEEN 

A  comedy  of  youth,  in  4  acts.  By  Booth  Tarkington. 
8  males,  6  females.  1  exterior,  2  interior  scenes.  Costumes, 
modern.  Plays  2y2  hours. 

It  is  the  tragedy  of  William  Sylvanus  Baxter  that  he  has  ceased 
to  be  sixteen  and  is  not  yet  eighteen.  Baby,  child,  boy,  youth 
and  grown-up  are  definite  phenomena.  The  world  knows  them  and 
has  learned  to  put  up  with  them.  Seventeen  is  not  an  age,  it  is  a 
disease.  In  its  turbulent  bosom  the  leavings  of  a  boy  are  at  war 
with  the  beginnings  of  a  man. 

In  his  heart,  William  Sylvanus  Baxter  knows  all  the  tortures 
and  delights  of  love ;  he  is  capable  of  any  of  the  heroisms  of  his 
heroic  sex.  But  he  is  still  sent  on  the  most  humiliating  erranda 
by  his  mother,  and  depends  upon  his  father  for  the  last  nickel 
of  spending  money. 

Silly  Bill  fell  in  love  with  Lolo,  the  Baby-Talk  Lady,  a  vapid 
if  amiable  little  flirt.  To  woo  her  in  a  manner  worthy  of  himself 
(and  incidentally  of  her)  he  stole  his  father's  evening  clothes 
When  his  wooings  became  a  nuisance  to  the  neighborhood,  his 
mother  stole  the  clothes  back,  and  had  them  altered  to  fit  the 
middle-aged  form  of  her  husband,  thereby  keeping  William  at 
home  in  the  evening. 

But  when  it  came  to  the  Baby-Talk  Lady's  good-bye  dance,  not 
to  be  present  was  unendurable.  How  William  Sylvanus  again 
got  the  dress  suit,  and  how  as  he  was  wearing  it  at  the  party  the 
negro  servant,  Genesis,  disclosed  the  fact  that  the  proud  garment 
was  in  reality  his  father's,  are  some  of  the  elements  in  this 
charming  comedy  of  youth. 

"Seventeen"  is  a  story  of  youth,  love  and  summer  time.  It  is 
ft  work  of  exquisite  human  sympathy  and  delicious  humor.  Pro 
duced  by  Stuart  Walker  at  the  Booth  Theatre,  New  "Sork,  it  en 
joyed  a  run  of  four  years  in  New  York  and  on  the  road.  Strongly 
recommended  for  High  School  production.  (Koyalty,  twenty-five 
dollars.)  Price,  75  Cents. 

SAMUEL  FRENCH,  25  West  45th  Street,  New  York  City 
Out  New  Descriptive  Catalogue  Seat  Free  on  Request 


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